HU /هُوَ. Bailad como si nadie os viera

The university clubs of the UPV are criminal organizations: Trafficking, extortion, murders, illegal gambling happen under the EPSG. Gonza "El Porteño," a first-year student, falls into the biblioclub working for Sara "PRR," the deputy head of the mafia.

Shooting against the staggering beauty of the Moroccan landscape, from the rugged terrain of the Atlas Mountains to the stark and surreal emptiness of the desert, with its encroaching sands and abandoned film sets, a director abandons his own film set and descends into a hallucinatory, perilous adventure of cruelty, madness and malevolence. A Paul Bowles story combined with observational footage forms a multi-layered excavation into the illusion of cinema itself.

A man and his son arrive at a rave lost in the mountains of Morocco. They are looking for Marina, their daughter and sister, who disappeared months ago at another rave. Driven by fate, they decide to follow a group of ravers in search of one last party, in hopes Marina will be there.

When Amador Coro gets out of prison for having provoked a fire, nobody is waiting for him. He returns to his home town, a small village hidden in the mountains of rural Galicia, to live with his elder mother, Benedicta, and three cows. Life goes on calmly, following the rhythm of the nature. Until the night when a fire devastates the region.

Explores the landscape and stories within the community of Krabi, Southern Thailand. A major tourist destination in Thailand, the filmmakers want to capture the town in this specific moment where the pre-historic, the more recent past and the contemporary world collide, sometimes uneasily.

A dying Sheikh travels across the Moroccan Atlas in a caravan escorted by two rogues.

A European director is making a film with children from a social center in Tangiers. Because of his methods, his relationship with the children during shooting degenerates and transforms the evolution of the project.

The story of Kaspar Hauser, who grew up in dark isolation from humanity, it is provided by a Gallician artist with a radical experimental adaptation that aims to be nothing less than a religious message. Black & white 16mm, without the language of reason, eye to eye with the primaeval puzzle. The story of Kaspar Hauser, the German 'wild child' who grew up for 16 years in silence and virtually in the dark in a stable with only a wooden horse as company, remains fascinating, also for filmmakers.

A powerful international army assigns a regiment the task of guarding a mysterious man, held in a maximum security prison in the middle of the desert. Soldier Salome, daughter of Commander Antipas, becomes obsessed with him... Eros and Thanatos together reminding us that truth is based on beauty and love.

A group of friends share a cinematographical experience in a particular region of Spain, Galicia. The goal is simple: to film what they like, without preconceived ideas about what should be filmed. They want their images to reflect the feelings that unite them with the people they find along the way.

Filmmaker Oliver Laxe leads his crew and a group of ravers deep into the desert to shoot his feature, Sirāt. Within the confines of his hotel room in Morocco, something unspoken lingers in his chest as Laxe opens up for a recorded conversation. As filming intensifies in the barren landscape, the film begins to inhabit those who take part.

San Sebastian, 1978. The workers at the water meter factory hold an assembly to discuss a strike, which ultimately fails. Disappointed, the most non-conformist workers turn their aspirations for radical transformation towards more intimate spheres. Some leave the factory to join an isolated community in the mountains, where dozens of young people embarked on an intense journey of shared cathartic experiences.

Footage yarn sliding over trees, fields, buildings, bulldozers, power lines... while a monotonous hum exacerbates the images.

A homage to Andrei Tarkovski made for the Spanish edition of the Chris Marker movie 'Une journée dans la vie d’Andrei Arsenevich'.

Oliver Laxe brings us closer to his immediate world: To Vilela, where he tries to raise his vital project while reflecting on spirituality, the simple and the symbolic, on the soil on which our future is rooted. The return to the primary sector is a metaphor for how to take care of the landscape and let us take care of it.